King James Version
Song of Solomon 1
17 verses with commentary
The Bride's Longing for Her Beloved
The song of songs, which is Solomon's.
View commentary
The book opens with its title and attribution: 'The song of songs, which is Solomon's.' The Hebrew construction 'shir hashirim' (שִׁיר הַשִּׁירִים, song of songs) employs a superlative—'the greatest song' or 'the most excellent of all songs.' This literary device parallels 'holy of holies' (most holy place) and 'king of kings' (supreme king). The attribution to Solomon, who composed 1,005 songs (1 Kings 4:32), designates this as his magnum opus. The title establishes that what follows isn't ordinary poetry but supreme celebration of covenantal love. While the surface narrative describes romantic love between bridegroom and bride, the Church has historically read this allegorically as depicting Christ's love for His Church (Ephesians 5:25-27) or God's covenant relationship with Israel (Hosea 2:19-20). Both interpretations have merit: human marital love is designed to reflect divine love (Genesis 2:24; Ephesians 5:31-32). The 'song of songs' celebrates the beauty, passion, and exclusivity of covenant commitment—whether in marriage or in God's relationship with His people.
Let him kiss me with the kisses of his mouth: for thy love is better than wine. thy: Heb. thy loves
View commentary
The bride speaks: 'Let him kiss me with the kisses of his mouth: for thy love is better than wine.' This opening verse establishes the Song's unabashed celebration of physical intimacy and passionate desire within covenant relationship. The Hebrew 'yishaqeni' (יִשָּׁקֵנִי, let him kiss me) uses an intensive form expressing urgent longing. The shift from third person ('him') to second person ('thy') creates dramatic immediacy—moving from description to direct address. The comparison 'thy love is better than wine' employs the Hebrew 'dodekha' (דֹּדֶיךָ), which can mean 'love' or 'lovemaking,' suggesting both emotional and physical intimacy. Wine represented joy, celebration, and sensory pleasure in ancient Israel (Psalm 104:15), yet the bride declares her beloved's love surpasses even this delight. This verse teaches that godly passion within marriage is appropriate, beautiful, and divinely ordained—not shameful or merely functional for procreation. The church fathers saw this as the believer's longing for intimate communion with Christ, whose love surpasses all earthly pleasures (Philippians 3:8).
Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.
View commentary
The bride continues praising her beloved: 'Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.' The 'good ointments' (shemanim tovim, שְׁמָנִים טוֹבִים) refer to fragrant oils and perfumes highly valued in ancient Israel. Ointments represented luxury, celebration, and attractiveness. The beloved's 'name' (shem, שֵׁם) signifies his character, reputation, and essential identity. Saying his 'name is as ointment poured forth' (shemen turaq shemekha, שֶׁמֶן תּוּרַק שְׁמֶךָ) creates a wordplay: shemen (oil) sounds like shem (name). When ointment is poured out, its fragrance spreads widely—similarly, the beloved's reputation and character attract admiration. The result: 'the virgins love thee' (alamot ahevukha, עֲלָמוֹת אֲהֵבוּךָ)—young women universally admire him. This verse teaches that godly character creates attractive 'fragrance' drawing others. Christ's name is supremely fragrant (2 Corinthians 2:14-15), and believers are called to spread His aroma.
Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee. the upright: or, they love thee uprightly
View commentary
The bride declares, 'Draw me, we will run after thee: the king hath brought me into his chambers.' The imperative 'draw me' (Hebrew 'moshkeni,' מָשְׁכֵנִי) suggests active pursuit by the beloved, while 'we will run after thee' indicates eager, voluntary response. The sudden shift from singular ('me') to plural ('we') may include the bride's companions (daughters of Jerusalem, verse 5) in celebration of the relationship. The phrase 'the king hath brought me into his chambers' uses the Hebrew 'chadrayikh' (חֲדָרָיךָ, inner rooms/private chambers), indicating intimate, secluded space reserved for the closest relationship. This isn't forced intrusion but welcomed invitation into privileged intimacy. The verse portrays love as both divine initiative ('draw me') and human response ('we will run'). Theologically, this anticipates Jesus's teaching: 'No man can come to me, except the Father which hath sent me draw him' (John 6:44). God initiates relationship through grace, and believers respond with eager pursuit. The 'king's chambers' prefigure the believer's access to God's presence through Christ (Hebrews 10:19-22).
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
View commentary
The bride addresses potential criticism: 'I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.' The phrase 'I am black, but comely' (shechorah ani ve-navah, שְׁחוֹרָה אֲנִי וְנָאוָה) acknowledges sun-darkened skin while affirming beauty. The 'daughters of Jerusalem' represent city-dwelling women with lighter skin (less sun exposure). The bride compares herself to 'tents of Kedar'—the black goat-hair tents of nomadic Arabs—and 'curtains of Solomon'—rich, beautiful curtains in the royal palace. Both comparisons affirm: though dark, I am beautiful. This verse teaches that beauty isn't defined by cultural standards but by the beloved's valuation. The church fathers saw prophetic significance: the Gentile Church, once outside covenant blessings ('black'), is made beautiful through Christ's love. God's grace transforms those the world despises into beloved treasures.
Look not upon me, because I am black, because the sun hath looked upon me: my mother's children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.
View commentary
The bride explains her sun-darkened skin: 'Look not upon me, because I am black, because the sun hath looked upon me: my mother's children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.' The phrase 'sun hath looked upon me' (sheshezapatni hashamesh, שֶׁשְּׁזָפַתְנִי הַשָּׁמֶשׁ) indicates sun exposure from outdoor labor. The bride's brothers ('mother's children') assigned her vineyard-keeping, preventing her from caring for her own appearance ('mine own vineyard'). This creates poignant irony: caring for others' vineyards, she neglected her own. The verse teaches that legitimate responsibilities can sometimes prevent proper self-care, and that life's circumstances—not character flaws—sometimes produce perceived deficiencies. Spiritually, it warns against exhausting oneself in external ministry while neglecting personal spiritual vitality.
Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions? as one: or, as one that is veiled
View commentary
The bride asks, 'Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?' The phrase 'thou whom my soul loveth' (she'ahavah naphshi, שֶׁאָהֲבָה נַפְשִׁי) expresses deep soul-love. The bride seeks the shepherd-beloved's location—'where thou feedest' (eyphoh tir'eh, אֵיפֹה תִרְעֶה) and 'where thou makest thy flock to rest.' The question 'why should I be as one that turneth aside' (otyah, עֹטְיָה) may mean 'veil myself' or 'wander.' The bride wants direct access to her beloved, not to search among others' flocks. This verse celebrates the soul's desire for intimate knowledge of and access to the beloved. Spiritually, it represents the believer seeking Christ's presence directly—not content with second-hand religion but pursuing personal communion.
If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents.
View commentary
The bridegroom responds to the bride's question: If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents. The address 'fairest among women' (yaphah banashim, יָפָה בַּנָּשִׁים) affirms the bride's beauty and value even while gently redirecting her. The beloved doesn't rebuke her seeking but provides gracious guidance. The instruction go thy way forth by the footsteps of the flock (iqvey hatson, עִקְבֵי הַצֹּאן, footprints of the flock) suggests following the established paths where God's people have walked—the well-trodden ways of faith and obedience.
The phrase feed thy kids beside the shepherds' tents encourages productive activity and community presence while waiting for fuller revelation. Rather than anxious seeking in wrong places, the bride should remain near the shepherding community, engaged in faithful work. Spiritually, this teaches that believers find Christ by following the paths of Scripture, staying near the Christian community, and engaging in faithful service rather than pursuing novel or isolated spirituality.
The phrase feed thy kids beside the shepherds' tents encourages productive activity and community presence while waiting for fuller revelation. Rather than anxious seeking in wrong places, the bride should remain near the shepherding community, engaged in faithful work. Spiritually, this teaches that believers find Christ by following the paths of Scripture, staying near the Christian community, and engaging in faithful service rather than pursuing novel or isolated spirituality.
Solomon Praises His Beloved
I have compared thee, O my love, to a company of horses in Pharaoh's chariots.
View commentary
The bridegroom declares, I have compared thee, O my love, to a company of horses in Pharaoh's chariots. The Hebrew 'lesusati berichvey par'oh' (לְסֻסָתִי בְּרִכְבֵי פַרְעֹה) literally means 'to my mare among Pharaoh's chariots.' This unusual comparison requires cultural context: Egyptian pharaohs used stallions for their war chariots. A mare released among stallion-drawn chariots would create chaos—the stallions would be irresistibly drawn to her, disrupting military formation. The beloved says the bride has this captivating, overwhelming effect on him—her beauty and presence completely capture his attention and affections.
The comparison also celebrates strength, nobility, and value. Egyptian horses were prized possessions—powerful, beautiful, carefully bred. The beloved sees his bride as precious, strong, and uniquely beautiful. This verse teaches that godly love involves powerful attraction, that the beloved should captivate the lover's attention completely, and that strength and beauty together characterize the ideal. Church fathers saw Christ completely 'captured' by His Church—His love for her is overwhelming and total, drawing all His affectionate attention.
The comparison also celebrates strength, nobility, and value. Egyptian horses were prized possessions—powerful, beautiful, carefully bred. The beloved sees his bride as precious, strong, and uniquely beautiful. This verse teaches that godly love involves powerful attraction, that the beloved should captivate the lover's attention completely, and that strength and beauty together characterize the ideal. Church fathers saw Christ completely 'captured' by His Church—His love for her is overwhelming and total, drawing all His affectionate attention.
Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
View commentary
The bridegroom continues praising the bride: Thy cheeks are comely with rows of jewels, thy neck with chains of gold. The Hebrew 'lechayayikh batorim' (לְחָיַיִךְ בַּתֹּרִים, your cheeks with ornaments) and 'tsavareyikh bacharuzim' (צַוָּארֵיךְ בַּחֲרוּזִים, your neck with strings of beads) describe adorned beauty. The 'rows of jewels' (torim, תֹּרִים) likely refers to beaded ornaments or plaited jewelry worn on the cheeks or head, while 'chains of gold' (charuzim, חֲרוּזִים) denotes necklaces or string-work of precious metal.
The beloved celebrates both natural beauty (cheeks, neck) and cultivated adornment (jewelry). This teaches that godly love appreciates the beloved's inherent worth and also delights in efforts to beautify. The bride has prepared herself, adorning herself for her beloved's pleasure. Spiritually, this represents the Church adorning herself with righteous deeds, virtues, and holiness for Christ (Revelation 19:7-8). The 'fine linen' of the bride is 'the righteousness of saints'—believers cultivate beauty through sanctification, adorning themselves for their Beloved.
The beloved celebrates both natural beauty (cheeks, neck) and cultivated adornment (jewelry). This teaches that godly love appreciates the beloved's inherent worth and also delights in efforts to beautify. The bride has prepared herself, adorning herself for her beloved's pleasure. Spiritually, this represents the Church adorning herself with righteous deeds, virtues, and holiness for Christ (Revelation 19:7-8). The 'fine linen' of the bride is 'the righteousness of saints'—believers cultivate beauty through sanctification, adorning themselves for their Beloved.
We will make thee borders of gold with studs of silver.
View commentary
The bridegroom (and perhaps companions) declares, We will make thee borders of gold with studs of silver. The Hebrew 'na'aseh-lakh torey zahav im neqquddot hakeseph' (נַעֲשֶׂה־לָּךְ תּוֹרֵי זָהָב עִם נְקֻדּוֹת הַכָּסֶף) promises to create ornaments of gold studded with silver. The plural 'we' may indicate the bridegroom speaking with royal plural or including companions who will assist in crafting gifts. The beloved promises to enhance the bride's existing beauty with even finer adornments—'borders of gold' (torey zahav, תּוֹרֵי זָהָב, gold filigree or chains) 'with studs of silver' (neqquddot hakeseph, נְקֻדּוֹת הַכֶּסֶף, silver beads or settings).
This verse celebrates the beloved's generous provision—he will adorn his bride with precious gifts, enhancing her beauty and demonstrating his love through costly presents. The move from the bride's current jewelry (verse 10) to promised finer ornaments shows progressive blessing and the beloved's desire to continually honor and beautify his bride. Spiritually, Christ promises to clothe His Church in ever-increasing glory—progressive sanctification leading to eschatological perfection. The gifts are costly (gold and silver) because the bride is precious beyond measure.
This verse celebrates the beloved's generous provision—he will adorn his bride with precious gifts, enhancing her beauty and demonstrating his love through costly presents. The move from the bride's current jewelry (verse 10) to promised finer ornaments shows progressive blessing and the beloved's desire to continually honor and beautify his bride. Spiritually, Christ promises to clothe His Church in ever-increasing glory—progressive sanctification leading to eschatological perfection. The gifts are costly (gold and silver) because the bride is precious beyond measure.
While the king sitteth at his table, my spikenard sendeth forth the smell thereof.
View commentary
The bride speaks: 'While the king sitteth at his table, my spikenard sendeth forth the smell thereof.' The 'king' refers to the bridegroom (Solomon). The Hebrew 'mesibbo' (מְסִבּוֹ, his table/couch) suggests intimate dining or reclining setting. The 'spikenard' (nerd, נֵרְד) was costly aromatic ointment imported from India—the same perfume Mary used to anoint Jesus (John 12:3). The phrase 'sendeth forth the smell' (natan richo, נָתַן רֵיחוֹ) indicates releasing fragrance. The bride's presence and preparation (anointing with expensive perfume) creates fragrant atmosphere in the king's presence. This verse celebrates the bride's desire to please her beloved—preparing carefully, offering her best, creating delight. Spiritually, it represents believers offering costly worship to Christ, creating fragrant atmosphere through devotion, obedience, and love.
A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.
View commentary
The bride continues: A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts. The Hebrew 'tseror hamor' (צְרוֹר הַמֹּר, bundle of myrrh) refers to a small sachet of aromatic myrrh resin worn around the neck, resting against the chest. Women would wear such fragrant bundles for personal enjoyment and to perfume their clothing. The beloved is like this intimate, constant fragrance—always near, continually pleasant, creating lasting delight. The phrase he shall lie all night betwixt my breasts (beyn shadai yalin, בֵּין שָׁדַי יָלִין) employs vivid language of intimate proximity and constant presence throughout the night.
Myrrh carries profound biblical significance: used in anointing oil (Exodus 30:23), burial preparation (John 19:39), and brought by the Magi to Christ (Matthew 2:11). It symbolizes suffering, sacrifice, and death—yet also precious fragrance. The beloved is like myrrh: precious, constantly present, bringing both joy and association with sacrifice. Theologically, Christ is our 'bundle of myrrh'—intimately near, continually fragrant presence, yet associated with suffering love that purchased our salvation. His presence is constant comfort and delight to the believer's heart.
Myrrh carries profound biblical significance: used in anointing oil (Exodus 30:23), burial preparation (John 19:39), and brought by the Magi to Christ (Matthew 2:11). It symbolizes suffering, sacrifice, and death—yet also precious fragrance. The beloved is like myrrh: precious, constantly present, bringing both joy and association with sacrifice. Theologically, Christ is our 'bundle of myrrh'—intimately near, continually fragrant presence, yet associated with suffering love that purchased our salvation. His presence is constant comfort and delight to the believer's heart.
My beloved is unto me as a cluster of camphire in the vineyards of Engedi. camphire: or, cypress
View commentary
The bride adds another metaphor: My beloved is unto me as a cluster of camphire in the vineyards of En-gedi. The Hebrew 'eshkol hakofer' (אֶשְׁכּוֹל הַכֹּפֶר, cluster of henna blossoms) refers to fragrant white flowers of the henna plant (Lawsonia inermis), used for perfume and dye. The 'vineyards of En-gedi' (karmey eyn gedi, כַּרְמֵי עֵין גֶּדִי) locates this imagery in a specific oasis on the Dead Sea's western shore—a lush, green paradise amid barren desert, famous for springs, gardens, and fragrant plants.
The beloved is like fragrant henna blooming in paradisiacal En-gedi—beautiful, rare, life-giving, refreshing amid desolation. En-gedi's contrast between desert harshness and oasis abundance intensifies the metaphor: in life's spiritual desert, the beloved is refreshing paradise. The image celebrates both the beloved's beauty (fragrant blossoms) and his refreshing presence (oasis in desert). Christ is supremely the cluster of henna in En-gedi—bringing life, beauty, refreshment, and fragrance to souls parched by sin's desert. He transforms desolation into paradise wherever He dwells.
The beloved is like fragrant henna blooming in paradisiacal En-gedi—beautiful, rare, life-giving, refreshing amid desolation. En-gedi's contrast between desert harshness and oasis abundance intensifies the metaphor: in life's spiritual desert, the beloved is refreshing paradise. The image celebrates both the beloved's beauty (fragrant blossoms) and his refreshing presence (oasis in desert). Christ is supremely the cluster of henna in En-gedi—bringing life, beauty, refreshment, and fragrance to souls parched by sin's desert. He transforms desolation into paradise wherever He dwells.
Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes. my love: or, my companion
View commentary
The bridegroom speaks to the bride: 'Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes.' The doubled declaration 'thou art fair... thou art fair' (Hebrew 'yaphah,' יָפָה) emphasizes emphatic affirmation and delight. The word 'behold' (hinnakh, הִנָּךְ) is an exclamation drawing attention to beauty that captures the speaker's complete focus. The comparison 'thou hast doves' eyes' employs the dove, symbol of purity, gentleness, and faithfulness in ancient Israel. Doves' eyes are soft, tender, and singularly focused—they don't dart around but gaze steadily. This suggests the bride's undivided attention and devoted focus on her beloved. The bridegroom delights not merely in physical beauty but in the bride's inner character—her purity, gentleness, and exclusive devotion. This verse demonstrates how covenant love includes aesthetic appreciation ('thou art fair') and character affirmation ('doves' eyes'). The church fathers saw Christ declaring His Church 'fair' despite her sinfulness, made beautiful through His cleansing (Ephesians 5:26-27). The dove eyes represent the Spirit's presence and the believer's single-minded devotion to Christ.
Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.
View commentary
The bride responds to the bridegroom: 'Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.' The bride mirrors the bridegroom's affirmation (verse 15), declaring him 'fair' (yapheh, יָפֶה) and 'pleasant' (na'im, נָעִים)—delightful, lovely, agreeable. This reciprocal delight models mutual appreciation in covenant relationship, not one-sided admiration. The phrase 'our bed is green' (Hebrew 'areshenu ra'anah,' עַרְשֵׂנוּ רַעֲנָנָה) literally means 'our couch is verdant/luxuriant.' The imagery suggests freshness, vitality, and natural beauty—perhaps describing an outdoor resting place surrounded by greenery, or metaphorically celebrating the vibrant, life-giving nature of their intimate relationship. 'Green' symbolizes life, growth, and flourishing throughout Scripture (Psalm 1:3, 23:2, 92:14). The verse teaches that godly marriage involves mutual delight, reciprocal affirmation, and shared joy in physical intimacy within the beauty of God's created order. The 'green bed' anticipates the eschatological imagery of the marriage supper of the Lamb and the renewal of all creation (Revelation 19:9; 21:1-2).
The beams of our house are cedar, and our rafters of fir. rafters: or, galleries
View commentary
The beams of our house are cedar, and our rafters of fir. This concluding verse of chapter 1 describes the royal bedchamber using architectural imagery. The Hebrew qorot batenu arazim rachitenu berotim (קֹרוֹת בָּתֵּינוּ אֲרָזִים רָחִיטֵנוּ בְּרוֹתִים) employs Lebanon's most prized building materials—cedar and fir. Qorot (קֹרוֹת) refers to supporting beams or rafters; rachit (רָחִיט) means paneling or ceiling boards. Together they represent structural stability and luxurious beauty.
Cedar (erez, אֶרֶז) from Lebanon symbolized permanence, incorruptibility, and royal splendor throughout Scripture. Solomon's temple used cedar extensively (1 Kings 6:9-18), as did his palace (1 Kings 7:2-3). Fir or cypress (berosh, בְּרוֹת) complemented cedar's durability with fragrant beauty. The imagery suggests that love between bride and bridegroom creates an enduring sanctuary—their relationship is the true "house," more precious than physical structures. This anticipates Ephesians 2:19-22 where believers become God's dwelling place, built on Christ the cornerstone.
Allegorically, interpreters see Christ and His church: the beams represent foundational doctrines supporting the household of faith, built on apostolic teaching (Ephesians 2:20). The cedar's incorruptibility points to Christ's eternal nature and resurrection body. The intimate "our house" reflects covenant union—Christ dwells with His bride (Revelation 21:3). The lovers' retreat into natural shelter of trees (1:16) now becomes permanent dwelling, suggesting progression from courtship to covenant, nature to civilization, temporary to eternal.
Cedar (erez, אֶרֶז) from Lebanon symbolized permanence, incorruptibility, and royal splendor throughout Scripture. Solomon's temple used cedar extensively (1 Kings 6:9-18), as did his palace (1 Kings 7:2-3). Fir or cypress (berosh, בְּרוֹת) complemented cedar's durability with fragrant beauty. The imagery suggests that love between bride and bridegroom creates an enduring sanctuary—their relationship is the true "house," more precious than physical structures. This anticipates Ephesians 2:19-22 where believers become God's dwelling place, built on Christ the cornerstone.
Allegorically, interpreters see Christ and His church: the beams represent foundational doctrines supporting the household of faith, built on apostolic teaching (Ephesians 2:20). The cedar's incorruptibility points to Christ's eternal nature and resurrection body. The intimate "our house" reflects covenant union—Christ dwells with His bride (Revelation 21:3). The lovers' retreat into natural shelter of trees (1:16) now becomes permanent dwelling, suggesting progression from courtship to covenant, nature to civilization, temporary to eternal.